Smith's work has focused on various aspects of the body-- the internal, external, and everything in between-- in a dizzying array of two-and three dimensional media, from bronze to terra-cotta to cast glass. Printmaking becomes her metaphor for skin and print techniques become profoundly varied ways of exploring the topography and penetrating the surface of the skin. In the years that Smith has been exhibiting her sculpture, she has explored the body from inside out, not only to gain self-knowledge but to steal back the body from the media and the bureaucrats and restore it as the site of personal, spiritual, and biological experience. She wishes the viewer to know and share the responsibilities of the body's functioning, its joys and its pains.
Kiki Smith, Banshee Pearls, 1991, Part lithograph with aluminum-leaf appliqué, on twelve sheets of Torinoko paper, Edition 43/51, 22 1/2 in x 30 1/2 in
Kiki Smith, Worm, 1992, Photogravure, etching, aquatint with cut-outs and collage, Edition 28/50, 28 3/4 in x 21 1/4 in
Kiki Smith, Sueno, 1992, Intaglio in 2 colors on Echizen Kouzo Kizuki paper, Edition 21/33, 41 3/4 in x 77 1/2 in
Kiki Smith, Free Fall, 1994, Intaglio in 1 color with photogravure, etching, and drypoint on Echizen Kozo Kizuki paper, Edition 4/40, 33 1/4 in x 42 in
Kiki Smith, My Blue Lake, 1995, Photogravure and lithograph in 3 colors on En Tout Cas paper, 43 1/2 in x 54 3/4 in
Kiki Smith, Moth, 1996, Woodcut in 1 color with collage and hand applique on Nepalese paper, 28 3/4 in x 21 1/4 in